Ripper  Episode 1: Lost
by UncleCatwoman
Summary: Post Season 7.  Life pulls the rug out from under Giles.  First in a mini-series.
1. Chapter 1: Teaser

Author's Note: This was written for Script Frenzy 2011 and is meant to be the first in a 5 or 6 episode mini-series set between the end of the television show and the start of the Season 8 comic. The first episode is complete (though Act Four needs a rewrite before posting) and will be put up one act at a time. Enjoy!

The characters are Joss's, not mine, but I thank him for the opportunity to play with them for a bit.

TEASER:

**EXT - LONDON STREET - NIGHT**

Exterior shot of a comfortable-looking restaurant from across the street.

**INT - RESTAURANT - NIGHT**

Four WOMEN are sitting at a table inside the restaurant. They all look to be in their forties. One of them - OLIVIA - is an attractive African-American woman. All four of the WOMEN are laughing.

WOMAN ONE

(having trouble getting words out through her laughter)

And then he ... then he ...

OLIVIA

(laughing too)

Careful now, luv. Don't hurt yourself.

WOMAN ONE holds us a finger ("give me a moment, dears") and takes drink of her tea followed by a few deep breaths.

WOMAN ONE

So, after he proposes -

WOMAN THREE

On the second date.

WOMAN ONE

(nodding)

On the second date. He tells me that his mum can't wait for us to move in with her. She has plenty of room and will happily watch the babies - plural! - once they start coming along.

All four WOMEN erupt into laughter again.

WOMAN THREE

Babies? How old are you again?

WOMAN ONE

Hush!

WOMAN TWO

I don't know, though. Man-child may still beat out boring.

WOMAN THREE

(shudders)

Boring men! God, is there anything worse?

WOMAN ONE

(to OLIVIA)

Liv? Didn't you date a librarian?

OLIVIA nods.

WOMAN TWO

A librarian? The epitome of boring? How bad was that?

OLIVIA

Not bad at all, actually. He was ... most definitely ... anything BUT boring.

WOMAN ONE

(leaning forward)

Ooh! Do tell!

WOMAN THREE

So what happened there?

OLIVIA

(suddenly somber)

He died.

**EXT - LONDON STREET - NIGHT**

The four WOMEN are saying their good-byes in front of the restaurant. OLIVIA she walks off down the street alone.

**EXT - LONDON STREET - NIGHT**

OLIVIA is walking down the street and we hear a FOOTSTEP somewhere behind her. She hears it too and stops for just a moment then starts walking faster. We hear another FOOTSTEP and OLIVIA starts running. She passes an alley but ignores it, still running ... until ...

Ahead of her, down the block, we see a tall SILHOUETTE step out of the shadows and start walking toward her. OLIVIA spins around to run back the way she came and sees another figure, an unsavory-looking THUG, closer than the other SILHOUETTE, moving toward her.

She runs into the alley.

**EXT - ALLEY - NIGHT**

OLIVIA runs down the alley, following it as it turns and then comes to a dead stop as she almost runs face-first into a chained wire-fence gate.

OLIVIA

Bollocks!

She spins around and sees the THUG slowly approaching her, a dangerous grin on his face.

THUG

'ullo, luvvie.

OLIVIA

Stay away from me!

THUG

Or what? You'll scream? Go 'head.

(beat)

Jus' makes it more sweeter for me.

He steps toward her and she swings her fist at his face. At first it looks like she missed (we didn't hear any kind of flesh-on-flesh smackage) but then he GROWLS and we see two bloody scratches across his cheek. OLIVIA holds up her fist and we see keys sticking out between all of the fingers.

OLIVIA

Is that sweet enough for you?

The THUG GROWLS again and his face vamps out.

THUG

Yer gonna pay for that, bitch!

MALE VOICE (OFFSCREEN)

(enunciating slowly with an American accent)

You-are you're. Go-ing to. Not 'yer gonna'.

The THUG looks up, surprised, and then turns to dust. Behind him, we see ROBIN WOOD, tall black stud, wearing a black leather (non-biker) jacket and holding a stake.

WOOD (CON'T)

And they say WE butcher the language?

OLIVIA chuckles slightly and begins to recover, relaxing her stance and dropping her fist.

WOOD (CON'T)

Are you all right, Olivia?

OLIVIA

(suddenly wary again)

How do you know my name?

WOOD

We've been looking for you.

OLIVIA

Who ... ?

OLIVIA stops, stunned, looking past WOOD at something.

OLIVIA (CON'T)

(whispering)

Rupert.

**EXT - ALLEY - NIGHT**

We see RUPERT GILES, wearing a hat and overcoat, has just turned the corner in the alley.

GILES

Hello, Olivia.

END TEASER


	2. Chapter 2: Act One

ACT ONE:

**INT - RESTAURANT - NIGHT**

Different restaurant than the one we saw earlier. It is more crowded but less fancy.

Around a large table, going clockwise, sit GILES, OLIVIA, WILLOW, XANDER, DAWN and WOOD. They are having tea and dessert and there seem to be a number of different conversations going on at once.

GILES

(to OLIVIA)

How did you find out?

OLIVIA

One of your other ... fellows ... .

XANDER

Watchers. They're called 'Watchers'.

WILLOW

(under her breath)

'Wankers' is more like it.

GILES

I beg your pardon!

WILLOW

Present company excluded, of course.

GILES gives her a nod. OLIVIA, watching the interplay, smiles.

XANDER

The reason they're called 'Watchers' is, with the exception of the big G-man, here, all they ever do –

OLIVIA

Is watch?

XANDER

(to GILES)

See? She didn't forget.

XANDER grins at his own joke and WILLOW pats OLIVIA on the shoulder.

OLIVIA

Rupert? I'm thrilled you're not dead.

GILES

As am I.

XANDER

(lifting his glass)

Hear! Hear!

DAWN nods her agreement, lifts her glass and clinks it with XANDER's.

OLIVIA

And I'd expect you to come home but what are ...

(she lifts her tea cup and gestures around the table)

... all of you ... doing in London?

All at once:

GILES

Watchers' Council.

WILLOW

Wanker Conclave.

WOOD

Waste of time.

Then ...

XANDER

I don't know about them but I'm looking forward to seeing Buffy expressing her appreciation for all of the help they didn't give us –

GILES

Xander!

XANDER

And, again, G-man, you are the exception, not the rule, in that you did help us stop the end of the world.

OLIVIA

Buffy. Where is she?

DAWN

Patrolling. With some of the other Slayers.

OLIVIA

(confused)

Other Slayers? But I thought she ... ?

WILLOW

It's a long story

GILES

We activated all of the potential Slayers in the world, making them actual Slayers and giving us the numbers and power we needed to stop the pending apocalypse.

WILLOW

OK, maybe not so long.

XANDER

He was a librarian, Will. They live words.

OLIVIA

Rupert -

She holds a finger up to WILLOW and WOOD before they can interject again.

OLIVIA (CON'T)

What are you all doing here?

GILES

We - us here and the Slayers - and the Council are meeting to discuss how best to move forward since there is no longer just one Slayer.

XANDER

(in a growly, deep voice under his breath)

There can be only one!

DAWN hits him playfully on the shoulder.

GILES

I'm not sure how long we'll be staying yet; it's probably going to take some time to work things out.

WILLOW

You think?

GILES

(to OLIVIA)

I'm going to be very busy but I'd like to see you again while I'm here.

OLIVIA hesitates for just a moment before smiling at him.

OLIVIA

I'd like that too, Rupert.

**INT - HOTEL BATHROOM – NIGHT**

WILLOW, in yellow pajamas, is brushing her teeth. She does her final rinse-n-spit and wipes her mouth with a small towel.

**INT - HOTEL ROOM - NIGHT**

We see a nice hotel room, not suite, with a small desk and two queen-sized beds in it. BUFFY and GILES are standing just inside the door and BUFFY looks somewhere between unhappy and pissed off.

The bathroom door opens and WILLOW comes out.

WILLOW

Oh! Hey, Giles.

GILES

Willow.

BUFFY

(obviously mad)

Go on. Ask her.

WILLOW

(confused)

Ask me what?

BUFFY

That's why you came, isn't it? Not to talk about the meeting tomorrow – and certainly not to spend any Slayer/Watcher bonding time.

GILES

Buffy, you have to believe me -

BUFFY

(interrupting)

You know what? I don't.

WILLOW

Buffy ...

BUFFY

That might have worked on me when I was a teenager, before I was 'BUFFY', but not anymore.

WILLOW

Buffy, what's wrong?

BUFFY

Ask Giles.

WILLOW

(wary)

Giles? What's going on?

GILES

Willow, about the meeting tomorrow ...

WILLOW

What about it?

GILES

I just think ...

GILES pauses to take a deep breath and look for the appropriate words.

GILES (CON'T)

I just think ...

(then just diving in)

I just think it might be better if you didn't participate.

WILLOW

(stunned and hurt)

What? Why?

BUFFY

That's what I want to know!

GILES

There's been some talk among the Council ...

BUFFY

About ...?

GILES looks uncomfortable and tries to answer but can't find the words.

BUFFY (CON'T)

(louder and madder)

About what?

WILLOW

(quietly)

Me.

BUFFY spins to look at her but WILLOW is looking at GILES.

WILLOW (CON'T)

They're talking about me, right? And what happened a year ago?

(beat)

When I tried to destroy the world.

**INT - HOTEL ROOM - NIGHT**

Same layout and decor but a different hotel room. A STAR WARS movie is playing on the television with the sound off. XANDER, dressed the same as earlier, is sitting at the small desk, typing on a laptop. ANDREW, wearing a long, brown bathrobe open over brown sweat pants and a white t-shirt, is doing some kind of geek kata with a plastic lightsaber.

Through the wall we can hear the sound of raised voices – BUFFY and GILES - but we can't make out the words.

ANDREW

So how long do we give them?

XANDER

Well, Sissy and Dad have been fighting a lot more lately ...

ANDREW

Really?

XANDER nods.

XANDER

But we don't want to be rude to the other guests.

ANDREW

Don't we have most of this floor?

XANDER

OK. Let's give them five more minutes. If no one's called the desk by then ... you can go break them up.

**INT - HOTEL ROOM - NIGHT**

BUFFY and WILLOW's room. WILLOW is sitting on one of the beds but BUFFY is face-to-face with GILES and has a good mad on.

BUFFY

(pointing to WILLOW)

This is crap! Do you know what she's done?

GILES

(calmly)

Yes.

BUFFY

(so mad she's starting to lose coherence)

I don't mean then! I mean now, last ... Sunnydale! Dammit! Not that in Sunnydale ... the First!

BUFFY stops and takes a deep breath to try and calm herself and get her thoughts in order.

BUFFY (CON'T)

(calmer but still pissed)

Without Willow we wouldn't have beaten the first.

GILES

I know.

BUFFY

(ignoring him)

Without Willow we wouldn't have all of the Slayers. Heck - chances are we wouldn't have any Slayers!

GILES

Buffy, I'm not disagreeing with you.

BUFFY

But you still don't want her to go.

GILES reluctantly shakes his head 'no'.

WILLOW

Giles, why?

GILES

Can't you just take my word that it's not a good idea?

**INT - BUFFY'S HOUSE - NIGHT**

FLASHBACK

... to the night GILES tried to distract BUFFY while WOOD went to kill SPIKE (and failed).

BUFFY is standing in her bedroom, talking to GILES in the doorway.

BUFFY

I think I've learned all I need from you.

BUFFY closes the bedroom door in his face.

**INT - HOTEL ROOM - NIGHT**

Back to the scene at hand.

BUFFY

(sadly)

No. I can't.

END ACT ONE


	3. Chapter 3: Act Two

ACT TWO:

**EXT - ENGLISH COUNTRYSIDE - DAWN**

We see a HUNTER, dressed appropriately for the hunt, walking across a field towards a large woods. He is carrying a rifle and a DOG, a labrador retriever, lopes alongside him.

**EXT - WOODS - MORNING**

The HUNTER is moving slowly through the trees but sees something and stops. He squats down and softly whistles the DOG over to him and pushes its hind end down to the ground.

HUNTER

(softly)

Stay.

The HUNTER stands and takes a quiet step. The DOG begins to stand to follow but the HUNTER turns and gestures it down.

HUNTER (CON'T)

Stay!

The HUNTER moves slowly away from the DOG, stepping carefully and quietly and watching the woods around him.

**EXT - WOODS - MORNING**

Elsewhere in the woods. The HUNTER enters our line of sight and then stops, looking at something we don't see. He settles back against a tree for support, raises his rifle and begins to take aim.

**EXT - WOODS - MORNING**

A large BUCK is moving through the trees, periodically being blocked from our line of sight by the trees between it and the camera. It stops beside a once-large tree; the trunk split and now obviously dying.

CRACK! A shot rings out and we see something his the tree just above the BUCK's head. The BUCK jumps out of the way as ...

CRACK! Another shot rings out, just a moment too late. It too hits the tree but makes an odd, popping/cracking sound as it does, unlike what we'd expect from a bullet hitting a tree. We hear the BUCK scampering away behind more popping and cracking noises from the tree, as if large pieces of wood are being pulled apart slowly.

In the distance we hear the DOG start to bark.

The cracking sound gets louder and the truck of the tree, partially split by lightning sometime in the past, finishes splitting all the way to the ground and the smaller half falls away to the side, kicking up dust and leaves ... and a rust-colored cloud.

HUNTER (OFFSCREEN)

What the dickens ... ?

**EXT - WOODS - MORNING**

TRACKING SHOT - from the perspective of SOMETHING we don't see moving very fast in a straight line towards the HUNTER.

Somewhere in the distance, we can hear the DOG still barking.

HUNTER (CON'T)

(wide-eyed and scared)

What? No! NO!

The HUNTER tries to bring his gun up to fire but whatever it is in on him too quickly.

**EXT - WOODS - MORNING**

Elsewhere in the woods. We hear the DOG still barking and the HUNTER scream.

HUNTER (CON'T - OFFSCREEN)

(fading)

Aaaaarhhhhh!

**INT - HOTEL LOBBY - MORNING**

The elevator door opens and BUFFY, WILLOW, KENNEDY, DAWN, XANDER and ANDREW exit. They are all a little more dressed up than usual - not black tie but business casual or more. ANDREW sees something and takes off across the lobby.

ANDREW

Ooh! The Sun!

DAWN

(voicing it for all of the confused women present)

Huh?

XANDER

(hanging and shaking his head)

The Page Three Girls.

(beat)

Not that I would know ... or ever ...

WILLOW pats him on the shoulder.

WILLOW

(condescending but friendly)

We know you wouldn't, Xander. Boobies bad.

KENNEDY

(mock offended)

What?

WILLOW

(finding herself somewhere she hadn't planned on)

No! Not yours, sweetie! Yours are –

BUFFY

(interrupting)

- something we DON'T need to hear about!

BUFFY smiles and KENNEDY and DAWN laugh. WILLOW blushes.

XANDER

(under his breath)

Speak for yourself.

KENNEDY gives XANDER and not-completely friendly punch in the arm. DAWN looks around the lobby ...

DAWN

Where's ...

... and then sees who she's looking for.

DAWN (CON'T)

Hey! Good morning!

WOOD and three young women in their late teens/early-twenties walk into the lobby from the cafe off of it. The women are SARAH, a short, Middle-Eastern woman with short, black hair, KATE, a cute, chubby woman with red hair and a red face and SATSU, a tall, Asian woman with long hair.

WOOD

Good morning.

WOOD walks directly over to ANDREW and pulls the paper out of his hands.

ANDREW

Hey!

WOOD

Grow up.

They all start moving towards the hotel entrance.

BUFFY

Everyone ready?

DAWN

Hey - where's Giles?

BUFFY makes a 'who cares' face.

WOOD

He's meeting us there.

WOOD smiles and raises his eyebrows.

WOOD (CON'T)

He's having breakfast with Olivia.

**INT - RESTAURANT - MORNING**

Different restaurant. OLIVIA and GILES are sitting across from each other at a small table, eating. GILES reaches across the table and strokes her cheek.

GILES

I have missed you.

OLIVIA leans into it for a moment and then pulls away, looking uncomfortable.

OLIVIA

Rupert -

GILES

I know, it's not the best time. I'm just getting back and everything's in flux with the Council and the –

OLIVIA

Rupert -

GILES

But things are different now, Liv. I'm different. I'll have more say and be able to spend more time –

OLIVIA

Rupert!

He stops talking and looks at her.

OLIVIA (CON'T)

I'm with somebody now.

GILES

Oh. I'm sorry, I didn't ...

(beat)

Are you sure?

OLIVIA

(lauging)

Of course I'm sure!

GILES takes off his glasses, pinches his nose at the top, between the eyes, and shakes his head at himself.

GILES

I meant - is it serious?

OLIVIA

It is.

GILES

(embarrassed and disappointed)

Oh.

OLIVIA

Rupert, you're great. You're sweet and funny. You're a librarian and still the most interesting man I've ever dated. By far.

(beat)

But you had your duties. And your Slayer. And ... and I might've waited for a little while but, Rupert, I lost you long before I heard you'd died.

GILES

I'm sorry, Olivia. I never meant ...

She takes his hand and kisses it.

OLIVIA

I know. I'm sorry too.

**INT - CONFERENCE ROOM - MORNING**

We are in a large, corporate conference room. One wall is a floor-to-ceiling window, curtains open, and through it we can see the downtown London skyline. There is a conference table large enough to seat 20 people ... which is a good thing since it looks like there are that many people milling about the room, chatting in small groups. BUFFY, WILLOW, XANDER, DAWN, ANDREW, KENNEDY, WOOD, SARAH, KATE and SATSU are there. As are ten members of the Watchers' Council; three women - LOUISE, CATHERINE and ELIZABETH – and seven men - MARTIN, CARRUTHERS, WILLOUGHBY, THOMAS, STEPHENSON, CHARLES and ROGER WINDHAM-PRICE.

CHARLES

(loudly)

We have a lot to discuss so, if everyone could be seated.

Everyone starts moving to chairs and sits down. BUFFY takes the seat at one end of the table and WINDHAM-PRICE the seat at the other. The members of their 'sides' sit at the appropriate ends of the table. There are exactly enough seats at the table for everyone present.

WINDHAM-PRICE

Before we begin, there are a few items to –

The conference room door opens and GILES enters. He stops when he realizes he's late.

GILES

So sorry. I got stuck in ...

WINDHAM-PRICE

Ah, Rupert. I was wondering where you were.

GILES

Hello, Roger.

GILES looks around the table and realizes there aren't any empty chairs. He points down the hall.

GILES (CON'T)

I'll just get one from -

WINDHAM-PRICE

No need. You won't be staying.

Everyone else at the table is watching, curious if a little confused.

GILES

I beg your pardon.

WINDHAM-PRICE

You won't be staying. This is Watcher/Slayer business and I'm asking you to resign yourself from it.

(beat)

From both sides of it.

(beat)

Now.

The room is stunned silent.

GILES

(calmly, though obviously pissed off)

Even now? After everything that's happened?

WINDHAM-PRICE shrugs.

WINDHAM-PRICE

Nothing's changed in that regard.

GILES

Bollocks! It's ALL changed.

WINDHAM-PRICE sighs.

WINDHAM-PRICE

(smugly)

If you insist, Rupert. Shall we change the terms of the original agreement?

GILES glares at him.

BUFFY

Giles, what the hell?

XANDER

Double that for me!

GILES

Buffy, Xander, this is ... not your concern.

BUFFY

Of course it's my concern! You're MY Watcher!

(glares at WINDHAM-PRICE)

AND the only Watcher we've ever been able to trust!

GILES's brows perk up at that and she gives him a 'yes, I can trust you ... at least with Watcher business' shrug.

WINDHAM-PRICE does not seem intimidated at all be her.

WINDHAM-PRICE

Miss Summers, this is not -

BUFFY

No! We've had this conversation before. You need us more than we need you. And that was when there was only one of me!

WOOD

(quietly)

Faith.

BUFFY

Two of me!

BUFFY isn't letting her misspeak slow her down. She stands up as she keeps rolling.

BUFFY (CON'T)

You DON'T have the upper hand here and I don't know what kind of Council politicrap stunt you're trying to pull but I won't stand for it!

There is a moment of tension following her ultimatum ... then ruined by a snort and muted giggle from ANDREW. The entire Slayer team turns to glare at him.

ANDREW

(whispering and trying not to giggle)

But she IS standing for it.

XANDER, sitting beside ANDREW, punches him in the arm. Hard. SARAH, on his other side, sees this and does the same.

ANDREW (CON'T)

Ow!

SARAH

(whispering to ANDREW, she has a middle-eastern accent)

Say another word ... today ... and we're going a few rounds.

GILES

Buffy, much as I appreciate your support ... and loathe as I am to agree with Roger ... this really is none of your concern. It is not a Watcher/Slayer business. You have my word on that.

BUFFY

Then what is it?

WILLOW

Yeah, Giles, help us understand. Please.

GILES holds up his hand to silence them.

WINDHAM-PRICE

Rupert?

There is a LONG, tense moment. GILES looks like he's going back-and-forth in his mind.

GILES

I ... I ...

(beat)

I ... resign myself and officially step down from the Watcher's Council.

Again, the room is filled with WTF? faces and stunned silence.

GILES turns to look at WILLOUGHBY.

GILES (CON'T)

I'll contact you later about transitioning my Council duties.

BUFFY

(hurt and confused)

Giles? Why?

GILES

Buffy. Xander. Willow. You. Can. Do. This. I have complete faith in you.

(beat)

And while Roger's a loathsome prick who hates not getting his own way, he is smart enough to realize exactly the position he's in here.

WILLOW

(also hurt and confused)

But, Giles ... ?

GILES shakes his head then holds his hand to his mouth, almost as if he's afraid to open it and hear what might come out. Then he leaves.

END ACT TWO


	4. Chapter 4: Act Three

ACT THREE:

**INT - CONFERENCE ROOM – NIGHT**

The only people left in the room are WINDHAM-PRICE, WILLOUGHBY and CARRUTHERS.

WILLOUGHBY

That was more difficult than I expected.

WINDHAM-PRICE

Really? It actually went better than I was expecting. Despite first impressions, poor taste and an American education, Miss Summers is a far shrewder person than most give her credit for. She doesn't trust the Council and she was correct when she said we need them more than they need us right now.

WILLOUGHBY

What does that mean for the Council?

WINDHAM-PRICE

Miss Summers is still a young, American girl.

(beat)

It means that we will still get most of what we want and she will walk away believing she got everything she wanted at our disadvantage.

The three men nod amusement at the idea.

WINDHAM-PRICE (CON'T)

(standing)

(to Willoughby)

Do me a favor, would you? Head on down and get the car? I'll be right along.

CARRUTHERS and WILLOUGHBY stand and head to the door.

WINDHAM-PRICE (CON'T)

Thank you, Willoughby.

WILLOUGHBY leaves and, instead of following, CARRUTHERS closes the conference room doors behind him and then turns back to WINDHAM-PRICE.

CARRUTHERS

What about Giles? Do you think he'll keep his word?

WINDHAM-PRICE

I think he'll stay out of the Council but, as we all know, he has always ignored the relationship protocol for the Slayer and that won't be nearly as easy to step away from.

CARRUTHERS

How big of a problem do you think he's going to be?

WINDHAM-PRICE

I think, perhaps, we should take some extra precautions to ensure Rupert stays out of both sides' business.

CARRUTHERS

I'll have it taken care of.

**INT - HOTEL ROOM – NIGHT**

Same hotel Team Slayer is staying in and yet another different room.

The door opens. WOOD walks in, with the key-card in his hand, followed by BUFFY, DAWN, XANDER and WILLOW.

BUFFY

Giles!

WOOD looks into the open bathroom door, the only place someone could be and not be seen.

WOOD

I don't think he's here.

DAWN

Where would he be?

XANDER

The man's just been un-made the thing he's devoted his whole life to. I dunno ... maybe ... drinking?

DAWN

We need to find him!

BUFFY

We will.

WILLOW hangs to the back as BUFFY, DAWN, XANDER and WOOD leave. Once alone, she reaches into the closet, pulls out a suitcase and sets it onto the bed. She opens it and pulls out a rumpled shirt.

WILLOW

(quietly)

You can hide from them, Giles, but you can't hide from me!

**INT - PUB - NIGHT**

GILES is sitting at the bar inside a small, neighborhood pub. There are a few other people inside; a couple of men playing darts and a couple sitting quietly at a table. GILES lifts his drink, drains it and gestures to the bartender for another.

WILLOW (OFFSCREEN)

Giles!

GILES

Blast!

GILES stands up, tosses some money on the bar and then WILLOW is beside him. He tries to walk past her but she grabs his arm and spins him around towards her.

WILLOW

Giles, you have to talk to me!

GILES

No, I don't.

WILLOW

Yes, you do! You know you're more than just a Watcher. To ALL of us.

GILES

Dammit! I just –

GILES seems to deflate.

GILES (CON'T)

(resigned)

All right, Willow. Since it would probably do me good to talk to somebody ...

WILLOW

(smiling)

And I'm not just any somebody, either!

GILES shakes his head and smiles weakly.

GILES

No, you're not.

(beat)

Order me another one. I'm just going to visit the loo and I'll be right back.

WILLOW nods and takes a seat at the bar.

**EXT - LONDON STREET - NIGHT**

We see a long street with a comfortable-looking pub at the far end of the block. There is an alley beside it and GILES comes walking quickly out of it and heads up the street, away from the pub.

Far too soon, the door to the pub opens and WILLOW steps out, looks in both directions and sees him ...

WILLOW

(yelling)

Dammit, Giles!

... and takes off running after him.

**INT - VAN - NIGHT**

Two dark silhouettes sit in a parked van. Through the windshield, we can see GILES and WILLOW on the sidewalk across the street arguing.

SILHOUETTE #1

(man's voice)

He didn't say anything about the girl. Should we take her too?

SILHOUETTE #2

(also a man's voice)

Nah. From the looks of it, one of 'em's gonna be storming off soon. And then we can ...

**EXT - LONDON STREET - NIGHT**

WILLOW and GILES are arguing loudly.

GILES

Willow, stop! Please! Just leave me -

WILLOW

No! You can't walk away and then ask us to

(in a faux British accent)

"just leave it be"!

GILES

I can. And if you had any respect for me –

WILLOW

I have NOTHING but respect for you! You're the most ... you're the ... you're ... you're GILES!

GILES

(calmly)

Then please, can't you just respect my wishes and choice?

WILLOW

I am, just help me understand! That's all I –

GILES

Questioning my decision is not respecting it.

WILLOW

Giles, you've never run away from ANYTHING. Not the Master, not the First. Not even Principal Snyder!

(beat)

So why now?

GILES

Willow, I -

WILLOW

I just want to understand! What is it about this prick -

GILES

Willow, I'm begging you –

WILLOW

- and whatever agreement you made with him –

GILES

- just drop it and -

WILLOW

Why NOW, Giles? Why this time?

(beat)

What card are they holding? I know we can do –

GILES

(exploding)

They were going to kill you!

That stops WILLOW dead in her tracks (no pun intended).

GILES (CON'T)

After you ... after Tara died and you ... they ...

GILES takes a deep breath and tries to find the words. WILLOW is still stunned.

GILES (CON'T)

(calmer, gently)

They felt you represented too large a threat and they were going to ...

WILLOW

(quietly)

Eliminate it.

GILES nods.

WILLOW

That's why you left, isn't it? They let me ... live ... if you left the Council?

They stand looking at each other for a moment.

WILLOW (CON'T)

Even after everything I did? I nearly killed you! And you still agreed ...?

WILLOW starts crying as it hits her.

WILLOW (CON'T)

Giles, I ...

She grabs him in a big hug and sobs into his chest. He holds her for a moment and then she pulls herself away.

WILLOW (CON'T)

We have to tell Buffy.

GILES

Willow -

WILLOW

No! This changes everything. She has to know! She can ... we can work this into our negotiations and –

GILES

Willow. No.

WILLOW

No what?

GILES

No ... me.

WILLOW

But we -

GILES puts one finger to her lips to shush her.

GILES

Willow, I have to abide by my end of the agreement.

WILLOW looks like she's ready to interrupt but he beats her to it.

GILES (CON'T)

I know things are different now and, yes, I would make a different decision in their place but ... Roger and what's left of the Council are not in a good position; they've been weakened by their losses and where they only had Buffy to handle before, they now have ... much more. They need whatever edge they can get and while removing me from the equation helps them, it's nothing compared to what losing you would do for them.

WILLOW

(surprised)

What? You mean they'd still ...?

GILES

Of course they would. The Council's not happy about you activating all of the potential Slayers. That, on top of what's happened before, gives them more than enough reason. But Roger ...

(beat)

He's the prick that would do it just to make the point. Don't underestimate him!

WILLOW

(not quite back yet)

OK.

GILES takes her by the shoulders

GILES

Willow, listen to me! He's an unpleasant man who's been backed into a corner with all this. Be VERY careful! And don't assume that ANYTHING is beneath him! All right?

WILLOW

(shaking herself free)

All right.

(beat)

But, Giles, you do have to talk to Buffy.

GILES

I know. But not tonight.

WILLOW looks at him curiously.

GILES (CON'T)

Tonight I will be drinking. More. Tomorrow morning, I imagine I'll be dreadfully hung over so Buffy can have the satisfaction that her scolding will be doubly painful.

WILLOW

OK. Do you want company tonight?

GILES

I don't think so. Don't take it personally. Were I in the mood for some you would be my first choice.

She smiles at him.

WILLOW

Thanks.

GILES gives her a hug and then gives her a gentle push away.

GILES

Go on back to the hotel. I'll be fine and I'll see you in the morning.

WILLOW

Are you sure?

GILES

For the fourteenth time, yes, I'm sure. But I do appreciate.

WILLOW takes a few steps away and then turns around.

WILLOW

Giles?

GILES

I know. Me too.

WILLOW turns back and keeps walking. GILES starts walking the other direction.

**EXT - LONDON STREET - NIGHT**

GILES is walking down another street. We're not sure how far it is from where he spoke to WILLOW but it's far enough. As he walks past, a dark van follows him from a distance, slowly.

GILES notices the van following. He doesn't turn around but starts walking faster.

**EXT - LONDON STREET - NIGHT**

GILES comes into our sight, almost jogging now, followed closely by the dark van.

The van stops and the side door audibly slides open. A DARK-DRESSED MAN jumps out carrying a submachine gun. GILES sees this and breaks into a full run down the block. The DARK-DRESSED MAN jogs after him.

As he approaches the end of the block, GILES looks back over his shoulder to see if he's still being followed (he is).

TRACKING SHOT - we follow GILES and he jumps around the corner ... and comes to a screeching halt as another DARK-DRESSED MAN is standing there with a pistol pointed at his head.

DARK-DRESSED MAN

Sorry, Rupert, old man. It's nothing personal.

GILES face falls, knowing what this means. And the DARK-DRESSED MAN fires at him point blank.

END ACT THREE


	5. Chapter 5: Act Four

ACT FOUR

**EXT - ENGLISH COUNTRYSIDE – DUSK**

We see the same field and woods that we did earlier ... though now there is a path of brown, dead grass running across the field, either to or from the woods.

**EXT - ENGLISH COUNTRYSIDE - DUSK**

Another field, also with a path of dead grass running through it.

**EXT - ENGLISH COUNTRYSIDE - DUSK**

TRACKING SHOT - We see another field, also with a path of dead grass running through it, but this time we follow the path of dead grass ... and see the HUNTER (without DOG or shotgun) walking across the field - pristine in front of him and the grass is dying under his feet.

**EXT - MANOR HOUSE - NIGHT**

Night has fallen. The HUNTER is approaching a large manor house with lights on throughout the first floor. Even though it's dark, we can still see the grass dying under his feet.

**INT - MANOR HOUSE FOYER - NIGHT**

The HUNTER enters the house and closes the door behind him. From here, we see that his coat and clothes are dirty and his hair disheveled.

The BUTLER enters and approaches him.

BUTLER

Welcome back, sir. How was the hunt?

The BUTLER moves to take his coat but the HUNTER turns and puts his hands on either side of the BUTLER's face. It's like an effect out of an Indiana Jones movie - the BUTLER's face ages in front of us, first getting older than the skin decaying off of it and leaving just the skull.

HUNTER

(smiling)

Delicious.

**EXT - LONDON STREET - NIGHT**

CLOSE UP on GILES's face as we hear the GUN FIRE. He winces, waiting for the mortal impact ... and waiting ... and waiting ...

He squints one eye open to peek and, immediately, both eyes fly fully open in shock.

TRACKING SHOT as the camera slowly moves and rotates so we now get a side view of GILES's head ... and the bullet hovering still in mid-air six inches from his forehead.

GILES jumps to the side, out of the path of the bullet. He stands there, looking at it for a moment, before turning to look at the shooter.

**EXT - LONDON STREET - NIGHT**

Wider shot. We see GILES looking at the DARK-DRESSED MAN, who is standing frozen, unmoving, his pistol held out in front of him.

GILES slowly steps behind the DARK-DRESSED MAN and back around the corner, looking back up the way he came.

**EXT - LONDON STREET - NIGHT**

Looking back up the street GILES was chased down, we see the other DARK-DRESSED MAN, frozen in time, mid-run. Behind him we see the dark van, still at the curb, a red compact car in the middle of the street and a bird in mid-air, alll not moving. It's as if time has stopped.

WOMAN'S VOICE (OFFSCREEN)

Neat trick, huh?

**EXT - LONDON STREET - NIGHT**

Wider shot of GILES at the corner, spinning around to look back at the DARK-DRESSED MAN who shot at him ... and the attractive young woman standing beside him: CORDELIA CHASE.

CORDELIA is dressed in boots, jeans, blouse and short hair just unkempt enough to enhance the sexy. She is smiling at GILES.

CORDELIA (CON'T)

Really freaked me out the first time I saw it but when I found out the secret ... Wow! Anti-climax!

GILES is still standing, watching her, trying to process what's happening.

GILES

Cordelia?

She gives him another beaming smile.

CORDELIA

Hey, Giles! Long time, no see, huh?

GILES

(still struggling)

But ... how ...?

She plucks the bullet out of the air, looks at it a moment and then tosses it to GILES.

CORDELIA

Here ya go!

He awkwardly catches it, stumbling in the process.

CORDELIA (CON'T)

Don't lose it. It makes you one of the rare few.

GILES

(still trying to catch up)

What?

CORDELIA

(smiling)

How many other people do you know that actually have the bullet with their name on it?

She walks over to the still struggling GILES and gives him a big hug.

CORDELIA (CON'T)

It's good to see you, Giles.

GILES

Cordelia? How ... ?

(beat)

You came out of your coma!

CORDELIA's smile fades a little.

CORDELIA

(shaking her head)

No. I died.

GILES stares at her.

CORDELIA (CON'T)

(extra perky)

But how have you been?

(beat)

Well, other than ...

(gesturing the the DARK- DRESSED MAN)

... him?

GILES

You're ... ?

CORDELIA

Yes, I'm dead. But, see -

She leans her head back and opens her mouth wide. Inside it, we see a mouthful of normal teeth.

CORDELIA (CON'T)

Not a vampire.

She tilts her head back up.

CORDELIA (CON'T)

(smiling)

Still loving my Vitamin K!

GILES is stating at her, his mind trying to catch up. CORDELIA pats him a couple times on the cheek.

CORDELIA (CON'T)

Take a minute, Giles. I can wait.

She walks back over the the DARK-DRESSED MAN, takes the pistol out of his hand, clicks the safety and tucks it into the back of her waistband.

She turns and looks back at GILES, who is still staring at her but hasn't moved.

GILES

(still struggling)

Cordelia? How ... ?

CORDELIA

How? I wouldn't even know where to start with that one! The PTB maybe ... but, no, we don't have that kind of time.

She starts walking back towards GILES.

CORDELIA (CON'T)

No, the question you want to ask ...

She's right in front of him now.

CORDELIA (CON'T)

... is why.

TRACKING SHOT following CORDELIA as she rounds the corner and starts walking up the block towards the other DARK- DRESSED MAN.

GILES

Very well, I'll bite.

(beat)

If you are dead, Cordelia -

CORDELIA

(interrupting him)

Oh, I'm dead.

She has reached the other DARK-DRESSED MAN, who is still frozen, and takes the submachine gun out of his hands.

GILES

(rolling his eyes, remembering what it's like to talk to her)

Then why are you here?

CORDELIA has walked over to the street and is looking for something somewhere along the curb.

GILES (CON'T)

Cordelia?

She looks up at him.

CORDELIA

I'm a messenger.

Having apparently seen what she was looking for, she walks a little further up the block and then stops at a spot on the curb. GILES starts following, to catch up to her.

GILES

(prompting)

From ... ?

She is looking at GILES but has started breaking down the weapon she's holding.

CORDELIA

Don't freak, OK?

GILES gives her one of his patented frustrated Watcher, eye-rolling looks.

CORDELIA (CON'T)

I'm a messenger ... from the other side.

GILES

Well, obviously. If you're dead.

CORDELIA shrugs.

GILES (CON'T)

But ... no, wait. That doesn't make sense.

CORDELIA

What doesn't?

GILES

You. Why come back from the other side and do ...

GILES gestures at the street, the unmoving cars and the frozen DARK-DRESSED MAN.

GILES (CON'T)

... THIS ... when all you needed to do was wait for another few seconds and I would have come to you?

CORDELIA

(pointing up with one finger)

Ah. Now that is the issue.

CORDELIA sits down on the curb, her feet in the street and beside a sewer grate, and she pats the sidewalk beside her.

CORDELIA (CON'T)

(seriously)

Have a seat, Rupert, and we'll talk.

GILES eyes widen at the use of his first name and he sits down beside her on the curb.

CORDELIA (CON'T)

The good news is that you're not going to die tonight.

(beat)

(smiling)

You're welcome.

GILES

Thank you.

(thinking...)

But why not?

CORDELIA

You always were the smart one.

CORDELIA dumps all of the pieces of the weapon down the sewer grate.

CORDELIA (CON'T)

Are you afraid to die, Giles?

GILES thinks about it a minute.

GILES

No.

CORDELIA

Why not? Death hurts.

GILES

So does life, or weren't you watching me today?

CORDELIA shrugs.

GILES (CON'T)

I don't want to die but I'm not afraid of it.

CORDELIA

Why not?

GILES looks for the words.

CORDELIA (CON'T)

Wait - you think you going to Heaven, don't you?

GILES

Maybe.

(then, a little embarassed)

I have done a lot of good in this world, helped people, stopped a lot of evil. Stopped the apocalypse. Apocalypses.

She gives him a sad look but doesn't say anything.

GILES (CON'T)

(paranoid turning to mad)

I'm not? Is that what you came to tell me? That I haven't earned my way into ... That everything I've done, all the times I've ... all the apocalypses! And I still haven't –

CORDELIA

Giles, that's not -

GILES

(epiphany)

Good god, are you my Marley?

CORDELIA

(confused)

Who?

GILES

Jacob Marley. He ... never mind. Is that why you're here?

CORDELIA

No.

GILES

To help me do what I ...

(his brain catches up to his ears)

Did you just say no?

CORDELIA

(nodding)

Yep.

GILES (CON'T)

As in 'No, I'm not going to Heaven when I die' ... whenever that is?

CORDELIA

I'm sorry, Giles.

GILES jumps to his feet.

GILES

(exploding)

Do you how much I've done for this bloody world? What I've given up? What I've lost? How many times I've ... And after ... everything! ... I'm still going to Hell?

CORDELIA

No.

That stops GILES in his tracks.

GILES

What?

CORDELIA

(shaking her head)

You not going to Hell either.

GILES

I don't understand.

CORDELIA

I know you don't.

CORDELIA gets to her feet too.

CORDELIA (CON'T)

And I know how much you hate that so take a minute.

He does.

GILES

If I don't go to Heaven OR Hell, then where ...?

CORDELIA

That's why I'm here tonight, Giles. And why ...

She gestures at the frozen world around them.

CORDELIA (CON'T)

... this.

She looks for the words.

CORDELIA (CON'T)

Because ... because they're not ready for you to die yet.

GILES

Who's not ready?

CORDELIA

The other side. Both ends of it.

GILES

(living in confusion)

The Afterlife isn't ready for me to die yet?

CORDELIA shakes her head.

GILES (CON'T)

What the ... ?

(beat)

I don't understand.

(beat)

Do I have something important I still need to do?

CORDELIA

I'm sure you do - kicking Roger Windham-Price's ass you be nice - but, no, that's not the reason.

GILES

Do you know why?

CORDELIA

(hesitates, then)

Yes.

(before GILES can ask)

And, no, I can't tell you. I wish I could.

GILES

Since when have the rules applied to Cordelia Chase?

CORDELIA

Since ...

(sighs)

... things have gotten so much more complicated than they used to be.

CORDELIA gives him a mischievous grin.

CORDELIA (CON'T)

But you're a smart man, Giles. Maybe you'll figure it out.

GILES just stares at her, trying to understand.

CORDELIA (CON'T)

In the meantime -

She accentuates her words by poking him in the chest with her finger.

CORDELIA (CON'T)

Don't get the big head or do something stupid!

(beat)

Just because the jury's still out on you tonight doesn't mean it will be tomorrow.

(beat)

Tomorrow they may be more than ready for you to kick it. Capiche?

GILES shakes his head an emphatic NO!. CORDELIA waves it away.

CORDELIA (CON'T)

(dismissing)

It doesn't matter.

(beat)

Now, go Giles.

(beat)

I'll give you a few minutes before I start things again.

GILES

(truly lost)

But ...

CORDELIA gives him a quick hug and kiss on the cheek.

CORDELIA

You'll see me again soon. But for now, you need go.

GILES just stands there

CORDELIA (CON'T)

(yelling)

GO!

That shakes GILES into activity. He starts to move then stops and gives the DARK-DRESSED MAN a vicious kick to the groin. Then he takes off running up the street.

CORDELIA (CON'T)

(chuckling, looking up)

No, we'll give him that one.

END ACT FOUR


	6. Chapter 6: Epilogue

EPILOGUE:

**EXT - LONDON STREET – NIGHT**

It's later and we're looking at yet another pub on another street.

A young couple approach the door and the YOUNG MAN is reaching to open it when it flies open and a very drunk GILES staggers out, bumping into both of them. The YOUNG MAN shoves GILES away.

YOUNG MAN

Go t'hell, ya sot!

GILES snorts, trying unsuccessfully not to burst into drunken giggles

GILES

Not tonight!

Still giggling, GILES starts walking, very wobbly, down the street.

YOUNG WOMAN

Hey, are you going to be all right? Do you have somebody you can call? Maybe a friend?

**INT - ARRIVAL GATE, HEATHROW AIRPORT - NIGHT**

Passengers are disembarking from an International flight, coming through the gate and into the terminal. One of them stops just inside, despite the obstacle he poses to the passengers behind him, and looks around. He is a tall man, about GILES' age, carrying a small satchel over his shoulder. His name is ETHAN.

ETHAN

(smiling)

It's good to be home.

END EPILOGUE

FADE OUT


	7. Chapter 7: Author's Note

Author's Note:

Sorry for the delay in getting Act Four posted. I know what I wanted to say but couldn't get it out quite right. (It's still not where I'd like it to be but it's far better than the previous five versions, and I wanted to get it up, so …).

Like Buffy and Firefly, the pilot will actually be the first 2 episodes. I've started on the next one and will post it as I finish pieces.

I know where I'm going both with the next episode and with the overall story and I hope you all like it. Reviews are love and I'll take all I can get! If you have any questions about the story or direction feel free to email me.

Thanks for reading and I hope you enjoyed it!

UC


End file.
